Standing Woman

Livia Canestraro (born in Rome in 1936) is a Belgian sculptor and painter whose work is rooted in the post-war European tradition of figurative sculpture, with a particular emphasis on public and architectural integration. Over the course of her career, she has developed a practice that bridges intimacy and monumentality—creating works that are both accessible in subject and deeply embedded in their urban and social context.
Working often in close collaboration with her husband, Stefaan Depuydt, Canestraro produced a body of work that reflects a shared artistic vision, where authorship becomes fluid and collective. Their sculptures are not conceived as isolated objects, but as elements in dialogue with their surroundings—whether placed in civic squares, integrated into façades, or incorporated into commemorative structures.
Her best-known works are located in the historic city of Bruges, where she contributed to the visual identity of public spaces through a series of sculptures and installations. Among these, De Verliefden (“The Lovers”) stands out as a poetic and human-centered composition, capturing a moment of quiet connection through simplified yet expressive figuration. Installed in prominent urban locations, her works invite interaction and contemplation, reinforcing the idea that sculpture can be part of everyday experience rather than confined to institutional settings.
Stylistically, Canestraro’s work aligns with a late modern figurative language—eschewing excessive abstraction in favor of clarity, balance, and emotional resonance. Her figures are often stylized but remain recognizably human, reflecting a sensitivity to proportion, gesture, and relational space. This approach situates her within a lineage of European sculptors who sought to preserve the human figure as a central subject while adapting it to contemporary contexts.
Beyond individual pieces, her contribution lies in the integration of art into the civic environment. Fountains, façade sculptures, and memorial works demonstrate her ability to work at the intersection of sculpture and architecture, enhancing public space without overwhelming it. Her practice reflects a broader 20th-century movement toward embedding art within the fabric of the city—where aesthetic, social, and spatial considerations converge.
Although less widely documented in international discourse, Canestraro’s oeuvre represents a consistent and thoughtful engagement with the role of sculpture in public life. Her work continues to resonate through its clarity of form, its humanistic tone, and its enduring presence in the urban landscape.